The student is nervous. It is her first jury – the end of her first semester as a college freshman. She is a music education major.

She loves playing trombone; she has practiced diligently. She has a good accompanist and she is well prepared.

Yet…the student is nervous.

The first couple of phrases go well. She plays with a good, full tone and good technique. Then…a missed note…an out of tune note…a tricky articulation that does not go as planned.

Next, a very strange thing happens. She cannot finish the next phrase in one breath as planned. She must breathe where she never breathed before. This throws her off and the whole cycle starts over: missed note…out of tune note…tricky articulation…and the mistakes seem self-perpetuating.

How does she break the cycle, or better yet – how does she avoid getting sucked into the cycle to begin with?

1. Realize that everybody gets nervous. It is not practical to expect a complete lack of nerves.

2. As well prepared as you might be – prepare even more. Sustained, patient effort over the course of the semester will pay off.

3. Don’t forget to breathe. In any situation, 5 minutes of attention to breathing can change one’s outlook. Before going on stage, lie down and breathe – just observe your breathing…don’t try to change it. you can also try some constructive rest. Here’s a sound file guiding you through a sample session: Constructive Rest.

The new approach to breathing and tonguing is making a huge difference in my sound as you predicted. I can’t believe how effortless my playing has become along with the ability to play much louder and for much longer phrases with complete control.

I’m back after a bit of a hiatus…I have been working on a new project called Rangesongs.

It occurred to me that many folks like to use the Bordogni Melodious Etudes to build range and endurance by playing them in tenor clef – this puts them up a perfect fifth. This works nicely until you run into one that goes unreasonably high or is too long or maybe doesn’t quite go high enough.

Thus was Rangsongs born. Rangesongs is a set of etudes designed to accomplish the endurance and range building described above, only in a more systematic (and, presumably, effective) way. Each song is one page in length and has a designated target note. The phrasing builds to the target note several times during the song but does not exceed it.

The first half of rangesongs explores the high register and the second half explores the low register. By alternating between high and low songs, you can learn a lot about how to move your air and you can build your range and endurance slowly over time, in a healthy way. Your tool is to use the target notes as goals and to think musically, following the indicated phrasing, as in this example, with the target note of g-flat:

I tried some of these with a student who came back after one week with an extra minor third at the top of his range (!)…I’m sure individual results vary but the early returns look quite promising! Click here for a few samples:

When the ribs move in conjunction with the diaphragm’s descent, air is brought into the body. It is the movement of the ribs and diaphragm and subsequent expansion of the thoracic cavity which causes air to come into the body.

Air coming into the body does not cause the ribs and diaphragm to move – that’s backwards.

The lungs don’t do anything by themselves – they depend upon surrounding structures (the ribs and diaphragm) to move. If it weren’t for the ribs and diaphragm moving, the lungs would just sit there like a liver or an appendix.

Ribs are designed to move by virtue of their attachment to the sternum via the costal cartiledge and their attachment to the spine via joints. The costal cartiledge is spongy and flexible, allowing the ribs to swing up and out. In fact, when the ribs swing up and out upon inhalation, they twist the cartiledge, storing energy in the cartiledge. When we exhale, the energy is released, in a phenomenon known as elastic recoil.

It’s the ribs moving that causes the thoracic cavity to expand in volume and the air to rush in.

It’s not the air rushing in that causes the ribs to move – that’s backwards! Rib motion is a primary motion of breathing.

Now that I have recovered from embouchure dystonia I can look back and reflect on what caused it. I believe that decades of playing with insufficient air flow contributed to the problem. This reduced air flow was caused by a misunderstanding of how breathing works and an insistent adherence to some traditional, yet flawed, breathing mantras.

Mantras such as “breathe low”…meaning that to breathe well, one must push out the abdomen, where the bellybutton is. To be clear: there is most certainly abdominal expansion when we breathe, but the abdominal expansion is not what causes air to come into the body. The abdominal expansion is the natural result of the diaphragm’s descent. As the diaphragm contracts (upon INHALATION), it pushes down on the contents of the abdominal cavity (the internal organs). The contents of the abdominal cavity move out in every direction (and down) as the natural result of the diaphragm’s descent.

The abdominal expansion should be allowed to happen – not made to happen.

Those who try to MAKE abdominal expansion happen create tension in the body and (ironically) reduce the air flow. I did this for many years and I believe the reduced air flow made the muscles of my embouchure work harder, thereby contributing to the development of dystonia.